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An Edward Vll silver three piece condiment set, by the Goldsmiths' and Silversmiths' Company, London 1901, the two casters of baluster form decorated with reeded bands and fully marked friction fitting pierced tops topped with an acorn finial, the mustard to match with flying scroll handle, hinged cover and blue glass liner, 12.2ozt gross weighable silver, crested (3)
A Victorian silver salver, by Edward & John Barnard, London 1857, 'Chippendale' style, the field decorated with foliate panels between symmetrical scrollwork around a central crested cartouche, with applied bead and scroll rim and raised on three applied scrolled feet, 27ozt 30 x 30cm (12 x 12in)
A Victorian collar chain and pendant locket, the chunky anchor link chain meeting at the front in a circular spring clasp, from which is suspended a further length of chain down to another similar clasp and a large oval locket with applied gothic monogram to the front, interior glazed but vacant on both sides; all parts test for silver except the lower ring clasp; length of necklace as worn 47cm, of suspension with pendant 12.5cm, of locket with bale 6.5cm; gross weight 102g
A Victorian silver waiter, by Robinson, Edkins & Aston, Birmingham 1843, of circular form with scalloped edge, the field decorated with bright cut scroll and foliate designs around a central monogrammed cartouche, the rim with applied cast scroll and foliate design and raised on three applied cast feet to match, 11.9ozt 21 x 21cm (8 x 8in)
A Georgian snake lace pin together with a vintage green paste hoop brooch, the first of oval outline with a shaped glazed panel (vacant) around which the snake is curled grasping its tail with mouth, closed back setting, in fitted miniature red morocco case, rose metal tests for 15ct gold, with yellow snake which tests for 18ct gold, length 3.2cm; the second a uniform hoop of oval cut emerald green pastes crimp collet set in white metal, tests for silver, diameter 3.2cm (2) Other Notes: The image of a snake, serpent or dragon grasping its own tail has symbolic meaning as far back as the Egyptians, Phoenicians, Greeks (who gave it the name Ouroboros meaning tail-eater), Aztecs, Chinese, Norse, and on through gnostics, alchemists and Renaissance artists up to the Victorians who were so fond of such symbolic messaging. The meaning encompasses eternity - the never-ending cycle of life, birth and death - sometimes the sun and cycle of the heavens, sometimes undying love.
A 20th century silver mounted cut glass claret jug, by James Dixon & Sons, Sheffield 1997, of conical tapering form, the heavy gauge glass decorated with panels of deeply cut star shapes, the collar, 4cm deep, plain and polished with bacchanalian spout, the domed and hinged cover with strawberry finial, the engraved and scrolled handle with dragon mask thumbpiece supported from the collar 28 x 15 x 15cm (11 x 6 x 6in)
A pair of 20th century silver topped glass 'pyramid' decanters, by Broadway & Co, Birmingham 2004, the glass by Krosno, of circular conical form, the heavy bases with internal drop shaped decoration, the flared lip with fully marked silver mount, the flat - topped simple stopper with display marked silver cap (2) 32 x 14 x 14cm (12 x 5 x 5in)
A 20th century Dutch silver covered casket, Dutch marks in addition to sponsor's mark George Bedingham, London import marks 1906, of cylindrical form decorated all over with repoussé images of pastoral scenes, which continue over the hinged cover, 6.3ozt 6.50 x 9 x 9cm (3 x 4 x 4in) Hinge has detached with some splitting and damage around the hinge area.
A 20th century silver wine funnel and bottle coaster, the funnel by David Mills, London 1986, of traditional form with gadrooned rim and detachable part marked spout, the bowl with pierced base, 2ozt, together with a plain circular baluster shaped bottle coaster by Wakely & Wheeler, London 1990, the turned wooden base with silver boss, the underside with green baize table protector (2)
A Victorian silver novelty salt in the manner of Paul Storr, by Charles Thomas Fox & George Fox, London 1879, featuring a cherub, his head covered with grapes and vine leaves and holding a festoon of grapes and vine tendrils standing over a wicker basket with gilded interior, all raised on a cast rocky base, 13.8ozt 13 x 10cm (5 x 4in)
A William IV silver wine ewer, possibly by Thomas Wallis, London 1832, of heavy gauge and baluster in form, the handle shaped as a vine branch with vine leaf and tendril mask, the rim similarly decorated, raised on a pedestal foot with decorated rim and personal engraving, 15.5ozt 21 x 13 x 8cm (8 x 5 x 3in)
Banff - An extremely rare Charles II silver tumbler cup, by Wm Scott (elder), circa 1680, two marks: VS, ABC, of circular form with slightly turned rim, the side decorated with bright cut foliate engraving around a cartouche with two pairs of initials below the letter 'M', 4ozt 6 x 8 x 8cm (2 x 3 x 3in) Provenance: Purchased by Miss Janet Low OBE circa 1940, thence by decent. Other Notes: A matching pair of silver communion cups with the same hallmarks as this example were offered for sale by Sotheby's, London, May 2009, lot 394, with an estimate of £50,000 - £70,000. In the catalogue note Sotheby's mentions that: 'William Scott is the first recorded silversmith working in Banff (Jackson's p.591). (There appear to have been only 24 recorded silversmiths at Banff.) The Scott family came to Banff from Aberdeen and the father and son, both William, are therefore designated elder and younger in the records. Burns notes that "William Scott (elder) was also a goldsmith in Aberdeen, where he was admitted a burgess in 1666; filled the office of deacon of hammermen in 1673, 1678, and 1685." (p.577) He also mentions on the following page that "Both William Scott (elder) and William Scott (younger) also carried on business in Elgin, as well as in Aberdeen and Banff." The hallmarks are VS ABC. The mark ABC is considered to be a town mark by both Burns and Finlay.' A small silver quaich with the same hallmarks and engraved floral designs to match this example sold at Bonham's, Edinburgh, 18 August 2004, lot 126, for £17,000 (plus buyer's premium). In the catalogue note Henry S. Fothringham suggests that: 'The hallmark ABC derives from Scott misinterpreting the principle of date letter punches for each year and ordering a single punch incorporating the first three letters of the alphabet instead'. The initials below the single letter 'M' are 'AK' and 'BB'. There is evidence of a marriage between Alexander Ker and Bessie Burnet dated 17/9/1668 in the county of Aberdeen. Given that Scott came from Aberdeen, that he was a silversmith at that time, dating the marks on the cup cannot be totally accurate as there is no definitive date letter, wedding records were notoriously inaccurate in those days and in the hundred years between 1650 and 1750 there was only one marriage in Aberdeenshire between a couple with initials AK and BB, there is more than a possibility that this cup was connected with their marriage in some way, either as a gift or maybe a type of loving cup, the contents being shared by bride and groom. Silver items marked in Banff are extremely rare and seldom appear for auction. There does not appear to have been any other Banff marked silver other than flatware offered at auction in the last 10 years. The town’s recent revival of silversmithing has sparked a major resurgence of interest in Banff silver. This is truly an exceptional piece, nearly 340 years old and in remarkable condition for its age. Literature: Thomas Burns, Old Scottish Communion Plate, R. & R. Clark, Edinburgh, 1892, p.103 Ian Finlay, Scottish Gold and Silver Work, revised by Henry Fothringham, The Strong Oak Press, Stevenage, 1991 Sir Charles Jackson, Silver & Gold Marks of England, Scotland & Ireland, Antiques Collectors Club, 3rd Edition, 1994, p.591 Sotheby's - Fine English & Continental Furniture, Including Silver, Ceramics & Clocks - 28 May 2009 catalogue, lot 394. Bonham's - The Scottish Sale - 18 August 2004 catalogue, lot 126. Two minor cracks together with a number of very, very small cracks to the rim. A shallow dent to the side, on the opposite side to the engraving. Some very small denting, probably the original hammer marks, to the lower half. Some minor cracks to the body on the opposite side of the engraving, possible evidence of an old repair.
A George V silver three piece tea set, by Barker Brothers, Birmingham 1929/31, of circular form with quatrefoil and cross decorated band below a beaded border and above a panelled body, the domed hinged cover with gadrooned decoration topped with a black octagonal finial, with scroll handle to match, raised on four shell and hoof feet, the milk jug and two handled sugar bowl with metal handles en suite, 26.5ozt gross (3)
A Victorian silver collapsible shot cup together with a spirit flask, the cup by Sampson Mordan & Co, London 1891, comprising four collapsible concentric part marked rings, with reeded base, the matching lid attached by a short length of chain, with lightly gilded interior; the panelled glass rectangular and slightly curved flask with silver plated removable cup and screw off cap, encased in a brown leather cover (2)
A George V tortoiseshell and silver travelling timepiece, the unsigned white dial, 35mm diameter, with black Arabic numerals, blued hands and dot minute track, the 8 day spring wind movement with captive key stamped to the reverse 'made in France', the tortoiseshell case with gilded silver piano hinge to the back door and simple hinged top handle, all raised on four silver bun feet, the silver fittings by Charles & William Comyns, London 1917 11 x 6 x 5cm (4 x 2 x 2in)
A late 19th Century Russian metalwares silver cigarette or cheroot case, maker's mark AE, not traced, assayed by Lev Fridrikhovitch Oleks, Moscow 1893, to standard 84 zolonitki (minimum silver standard of 875/1000), of rectangular cushion shape with spring loaded catch, the piano hinged cover decorated with an engraved scene of two gentlemen crossing a field aboard a single horse drawn sleigh, 3.5ozt 2 x 9.50 x 5.50cm (1 x 4 x 2in)
A 19th century Dutch metalwares large silver beaker, double struck maker's mark, untraced, possibly from Amsterdam, of tall tapering form with flared rim, the sides decorated with foliate engraving around a large Coat of Arms and an inscription in Dutch, (translation: 'This coat of arms indicates nobility and this beaker indicates faithfulness to his Saan'), stamped with the duty mark of a dolphin within a triangle (for Dutch made silverware below 833/1000 standard 1893-1905) the base of two bands of repoussé decoration, 18ozt 22 x 12 x 9.50cm (9 x 5 x 4in)
York - A rare George lll silver wine funnel, by James Barber & William Whitwell, 1819, with foliate rim and thumbpiece, the body heavily decorated with repoussé foliage over a hammered background, pierced interior, the part marked detachable funnel to match, 3.3ozt 13 x 9.50 x 9.50cm (5 x 4 x 4in) Other Notes: York was one of three English provincial assay offices which closed in the 19th century as the major manufacturing cities became larger and trade became more centralised. The York assay office closed in 1858, followed by Exeter in 1882 and Newcastle in 1883 and York marked silver is now rare and sought after.
A pair of Victorian silver gilt goblets, by George Angell & Co, London 1861, of traditional form with flared bowl, short knopped stem and pedestal foot, both the foot and bowl lavishly decorated with repoussé decorations of scrolls, foliage and the busts of mythical creatures, scalloped and fluted lip, 18.3ozt gross (2) 16 x 9.50 x 9.50cm (6 x 4 x 4in)
A 20th century Italian silver plated punchbowl and ladle, the bowl by Carlo Mozzoni, Milano, of plain circular form with scalloped edged rim and two applied C shaped ring handles, signed to one of the handles; the ladle by Lino Sabattini, Bregnano, with circular bowl and plain rectangular in cross section long handle, signed to the reverse (2) 6.50 x 43.50 x 43.50cm (3 x 17 x 17in) Lino Sabattini is an Italian designer best known for his innovative design of silver-plated wares. Born on September 23, 1925 in Corregio, Italy, he studied metalsmithing while working in a brass shop as a teenager. He went on to work in Paris and Milan for the Christofle company, eventually forming his own company, Argenteria Sabattini, in 1964. Today his works are held in the collections of The Museum of Modern Art in New York, the Dallas Museum of Art, the Victoria and Albert Museum in London, and the Philadelphia Museum of Art, amongst others.
Tudor by Rolex - A gentleman's 'Oysterdate' stainless steel wristwatch, circa 1966, model number 7992, the signed round silver coloured dial, 28mm diameter, with silver coloured batons and hands, centre seconds, dot minute track and date window at 3 o'clock, the signed steel case with polished bezel, the signed 21 jewel mechanical crown wind movement calibre 2403 with screw down crown, serial number 522175, to a Rolex steelinox 'Oyster' bracelet number 6635 with expanding links and fold over Oyster clasp
A 19th century Dutch metalwares silver table inkstand, maker's mark unreadable, lion passant for 2nd standard purity 833/1000, with date letter for 1860, the loaded scroll edged trapezium shaped base decorated with bright cut engraved designs, a dished and scroll edged pen rest and double scroll designed backplate, supporting two cut glass bottles with silver collars and part marked silver octagon shaped covers, decorated with the remains of bright cut engraved designs, all raised on three applied 'butter bean' shaped feet
A Victorian silver spirit flask, by John Linegar, Birmingham 1870, of oval form, lavishly decorated all over with panels of foliage around an egg and dart style engraved border, the front with a quatrefoil shaped cartouche engraved with a monogram and the crest and motto of the Hart family, the friction fitting pull off cup with lightly gilded interior and screw down cap, 3.4ozt 2 x 10.50 x 7cm (1 x 4 x 3in)
Two pairs of Edward Vll silver specimen vases, by Horace Woodward & Co, one pair London 1904, numbered 74271 the other pair London 1906, numbered 74407, with quatrefoil base and short flared column to a beaded edged quatrefoil rim, presented in the original red leather velvet lined cased, retailed by Pearce & Sons of Leicester, loaded (4) 9.50 x 4.50 x 4.50cm (4 x 2 x 2in)
A lapis lazuli, blue lace agate and cultured pearl necklace, designed as five large oval blue lace agate beads each spaced by three 9mm faceted lapis lazuli beads alternating with two slightly smaller oval grey pearls, to a spherical magnetic clasp stamped '925' and tests for silver, length 46cm
A George V silver parapet teapot, by C.W. Fletcher & Sons, Sheffield 1927, nominally rectangular shaped, the parapet with canted corners, part marked flush fitting hinged cover topped with a black wooden finial, leaf capped handle to match and fluted spout, 21.9ozt 14 x 30 x 12cm (5 x 12 x 5in)
Three (probably) George II silver tub salts, hallmarks rather rubbed but at least one by David Hennell I, London and at least one 1745, each of the same design and probably matching, with gadrooned sides around a crested oval cartouche and raised on three hoof feet, one with a colourless glass liner 9.4ozt gross weighable silver (3) 4.50 x 8 x 8cm (2 x 3 x 3in)
A pair of opal and diamond ear pendants with screw-back fittings, each designed as a flower, perhaps a pansy, of round and oval cabochon opals around an old cut diamond centre, surmounted by two more diamonds and two graduated round opals, beneath a short articulation set with two more old cushion cut diamonds, the stones crimp or millegrain collet set in white metal, tests for silver, on yellow metal tests for gold, the back of each earring with a cartouche hand-engraved either '17' or '18' (implying that these were once part of a larger piece, possibly a graduated fringe necklace); to later screw-back fittings stamped 'Sterling Silver'; length 3.6cm
Cartier - A vermeil 'Les must de Cartier' 'Tank' wristwatch, circa 1985, the signed two tone champagne coloured dial with black Roman numerals, blued sword shaped hands and chemin de fer chapter ring, the signed 7 jewel quartz movement calibre 90.06, the crown with synthetic sapphire cabochon end stone, case number 6 81006 04575 signed to the reverse and with the Swiss canard mark for 925/1000 standard silver, to a tan leather strap with gilt pin buckle and presented in the original red leather and gold tooled case with cream coloured outer box, together with a Cartier service guarantee booklet dated 28/03/1998
A collection of three George III silver caddy spoons, the first by Samuel Pemberton, Birmingham 1808, shovel shaped with turned ivory handle, the second by Cox & Bettridge, Birmingham 1803, shovel shaped with pig tail handle, the edges decorated with bright cut engraving, the third possibly by Joseph Taylor, Birmingham 1796, with pierced filigree bowl, the handle decorated with bright cut engraving, monogrammed (3)
A canteen containing a 119 piece harlequin set of silver cutlery and flatware with 13 additions, by a variety of makers, variously marked in London, Sheffield, Edinburgh and Exeter, 1829 - 1931, 'Kings' pattern and shell backed, monogrammed, comprising 12 table forks,12 table knives with filled handles and steel blades, 6 table spoons,12 dessert forks,12 dessert knives with filled handles and steel blades,12 dessert spoons, 9 soup spoons,10 teaspoons,12 pairs of fish eaters with filled handles and silver tines and blades, a pair of sugar tongs, 2 butter knives, 2 sauce ladles, a 3 piece carving set with filled handles and steel tines and blades and a pair of fish servers with filled handles and silver tines and blades, approx. 160 ozt gross weighable silver, together with 13 further non-matching items of cutlery and flatware, all encased in a wooden table top canteen with three drawers and lift up lid (132)
A Victorian silver and cut glass table centrepiece, by Joseph & Thomas Bradbury, Sheffield 1871, the cast column of intertwining vines with hanging leaves, tendrils and bunches of grapes supporting a circular cut glass bowl with jagged edge and egg and dart style engraved pattern all rising from a raised somewhat bulbous and lobed base decorated with shell and scroll edges, three small sections of vine and alternate plain and repoussé panels, 64ozt gross weighable silver 50 x 28 x 28cm (20 x 11 x 11in)
A George lV silver scissor action candle snuffer, by Rebecca Emes and Edward Barnard l, London 1825, with gadrooned and scrolled handles, rosette topped hinge and escutcheon shaped snuffing blades, raised on the blade edge and two plain capstan-like feet under the handles, 2.7ozt 16 x 5 x 5cm (6 x 2 x 2in)
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2466194 item(s)/page